Shifting Image

An exhibition confronting the layered, uncomfortable perspectives of Dutch colonial history.

Mauritshuis, The Hague (NL), 2019

Bust of Johan Maurits positioned in front of a wall covered with identical sculpted heads. Around the room, visitors observe large colonial paintings and immersive wall projections of tropical landscapes and ruins.

The overview

The Mauritshuis developed Shifting Image to critically examine the colonial legacy of Johan Maurits and the Dutch presence in Brazil, specifically its direct connection to the transatlantic slave trade.

Instead of a traditional, single-narrative history lesson, the exhibition was designed to investigate how power relations shape collective memory, combining brutal historical truths with contemporary critique.

Through digital interfaces and spatial installations, we didn’t just display artifacts; we invited visitors to navigate conflicting viewpoints and question who gets to write history.

  • Exhibition room with colonial portraits and a timeline wall. A large painting of a woman accompanied by a white child and a Black child dominates the foreground, while visitors quietly observe other paintings in the surroundings.
  • A woman interacts with a touchscreen display in front of a large, ornately framed portrait of Johan Maurits. In the background, projected images and a smaller portraits of two Black men are visible.
  • Close-up of a woman gazing at a large colonial painting depicting a noblewoman with children. The woman stands in a dark gallery lit by focused spotlights on the artworks.
  • Two women explore a gallery space featuring a detailed white architectural model and framed portraits of Black men. On the left wall, an exhibition timeline in Dutch and English provides historical context.

The work

I led the UX/UI strategy and multimedia design across the entire exhibition. The challenge was a triptych of technical, editorial, and structural constraints. Heavy-volume, sensitive, layered content that needed an interaction logic giving parallel narratives equal weight without paralyzing the visitor.

When you’re dealing with emotionally charged history, design friction has to disappear. I focused on content hierarchy, clean readability, and dead-simple interaction patterns so the history could breathe. Accessibility wasn’t a feature, it was the foundation.

I guided internal and external teams across iPads, large-scale projections, and physical installations, translating complex interpretive goals into a cohesive, rock-solid experience framework.

  • Gallery scene with a bust of Johan Maurits in the center, surrounded by wall-mounted colonial paintings and immersive projections of exotic landscapes. Several visitors explore the room independently.
  • White architectural model of a classical building, made of imitation sugar cubes and displayed under a spotlight. The model sits on a circular base covered in loose sugar cubes, all set within a dark exhibition room.
  • A woman stands closely in front of a large colonial portrait of a white woman accompanied by a Black servant. Projected market scenes and paintings are layered across the back wall.
  • Side view of a woman reading from a touchscreen next to a large white architectural model of a neoclassical building, made of imitation sugar cubes. The installation is surrounded by a base of loose sugar cubes and illuminated in a dark room.

The result

  • Led the strategic UX/UI and multimedia framework for a high-stakes, multi-perspective national exhibition.
  • Built content systems from the ground up capable of holding conflicting historical narratives without overwhelming visitors.
  • Managed multidisciplinary specialists across digital interfaces, spatial projections, and physical touchpoints.
  • Embedded accessibility into the core design logic from day one, ensuring cognitive clarity for a broad audience.
  • Recognised with 7+ international awards.
  • Panoramic view of the exhibition room with a timeline wall, large projected colonial portraits, and a seated visitor. The bust of Johan Maurits appears in the foreground, partially turned.
  • Bust of Johan Maurits in a spotlight, set against a textured wall covered in repeating versions of the same sculpted face. The statue’s elaborate military uniform and expression are clearly visible.
  • A young woman stands in front of a series of framed landscape paintings, attentively engaging with a touchscreen. Projected scenes of natural environments extend across the walls in the background.
  • Interactive panel titled “Wat vraagt u zich af?” (“What would you like to know?”) invites visitors to reflect on the legacy of Johan Maurits and colonial history, featuring a mix of Dutch and English explanatory text and survey questions.
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Maker park

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